Library of World War II Studies – serie

During World War II, Croatia became a fascist state under the control of the Ustasha Movement - allied with Nazi Germany and Fascist Italy. Here, Goran Miljan examines and analyzes for the first time the ideology, practices, and international connections of the Ustasha Youth organization. The Ustasha Youth was an all-embracing fascist youth organization, established in July 1941 by the `Independent State of Croatia' with the goal of reeducating young people in the model of an ideal `new' Croat. This youth organization attempted to set in motion an all-embracing, totalitarian national revolution which in reality consisted of specific interconnected, mutually dependent practices: prosecution, oppression, mass murder, and the Holocaust - all of which were officially legalized within a month of the regime's accession to power. To this end education, sport, manual work and camping took place in specially established Ustasha Youth Schools. In order to justify their radical policies of youth reeducation, the Ustasha Youth, besides emphasizing national character and the importance of cultural and national purity, also engaged in transnational activities and exchanges, especially with the Hlinkova mladez [Hlinka Youth] of the Slovak Republic. Both youth organizations were closely modelled after the youth organizations in Nazi Germany and Fascist Italy. This is a little studied part of the history of World War II and of Fascism, and will be essential reading for scholars of Central Europe and the Holocaust.

During World War II, jazz embodied everything that was appealing about a democratic society as envisioned by the Western Allied powers. Labelled 'degenerate' by Hitler's cultural apparatus, jazz was adopted by the Allies to win the hearts and minds of the German public. It was also used by the Nazi Minister for Propaganda, Joseph Goebbels, to deliver a message of Nazi cultural and military superiority. When Goebbels co-opted young German and foreign musicians into 'Charlie and his Orchestra' and broadcast their anti-Allied lyrics across the English Channel, jazz took centre stage in the propaganda war that accompanied World War II on the ground. The Jazz War is based on the largely unheard oral testimony of the personalities behind the German and British wartime radio broadcasts, and chronicles the evolving relationship between jazz music and the Axis and Allied war efforts.Studdert shows how jazz both helped and hindered the Allied cause as Nazi soldiers secretly tuned in to British radio shows while London party-goers danced the night away in demimonde `bottle parties', leading them to be branded a `menace' in Parliament. This book will appeal to students of the history of jazz, broadcasting, cultural studies, and the history of World War II.

Based on newly accessible Turkish archival documents, Onur Isci's study details the deterioration of diplomatic relations between Turkey and the Soviet Union during World War II. Turkish-Russian relations have a long history of conflict. Under Ataturk relations improved – he was a master ‘balancer’ of the great powers. During the Second World War, however, relations between Turkey and the Soviet Union plunged to several degrees below zero, as Ottoman-era Russophobia began to take hold in Turkish elite circles. For the Russians, hostility was based on long-term apathy stemming from the enormous German investment in the Ottoman Empire; for the Turks, on the fear of Russian territorial ambitions. This book offers a new interpretation of how Russian foreign policy drove Turkey into a peculiar neutrality in the Second World War, and eventually into NATO. Onur Isci argues that this was a great reversal of Ataturk-era policies, and that it was the burden of history, not realpolitik, that caused the move to the west during the Second World War.

During World War II, jazz embodied everything that was appealing about a democratic society as envisioned by the Western Allied powers. Labelled `degenerate' by Hitler's cultural apparatus, jazz was adopted by the Allies to win the hearts and minds of the German public. It was also used by the Nazi Minister for Propaganda, Joseph Goebbels, to deliver a message of Nazi cultural and military superiority. When Goebbels co-opted young German and foreign musicians into `Charlie and his Orchestra' and broadcast their anti-Allied lyrics across the English Channel, jazz took centre stage in the propaganda war that accompanied World War II on the ground. The Jazz War is based on the largely unheard oral testimony of the personalities behind the German and British wartime radio broadcasts, and chronicles the evolving relationship between jazz music and the Axis and Allied war e orts.Studdert shows how jazz both helped and hindered the Allied cause as Nazi soldiers secretly tuned in to British radio shows while London party-goers danced the night away in demimonde `bottle parties', leading them to be branded a `menace' in Parliament. This book will appeal to students of the history of jazz, broadcasting, cultural studies, and the history of World War II.

Based on newly accessible Turkish archival documents, Onur Isci's study details the deterioration of diplomatic relations between Turkey and the Soviet Union during World War II. Turkish-Russian relations have a long history of conflict. Under Ataturk relations improved – he was a master ‘balancer’ of the great powers. During the Second World War, however, relations between Turkey and the Soviet Union plunged to several degrees below zero, as Ottoman-era Russophobia began to take hold in Turkish elite circles. For the Russians, hostility was based on long-term apathy stemming from the enormous German investment in the Ottoman Empire; for the Turks, on the fear of Russian territorial ambitions. This book offers a new interpretation of how Russian foreign policy drove Turkey into a peculiar neutrality in the Second World War, and eventually into NATO. Onur Isci argues that this was a great reversal of Ataturk-era policies, and that it was the burden of history, not realpolitik, that caused the move to the west during the Second World War.

During World War II, Croatia became a fascist state under the control of the Ustasha Movement - allied with Nazi Germany and Fascist Italy. Here, Goran Miljan examines and analyzes for the first time the ideology, practices, and international connections of the Ustasha Youth organization. The Ustasha Youth was an all-embracing fascist youth organization, established in July 1941 by the `Independent State of Croatia' with the goal of reeducating young people in the model of an ideal `new' Croat. This youth organization attempted to set in motion an all-embracing, totalitarian national revolution which in reality consisted of specific interconnected, mutually dependent practices: prosecution, oppression, mass murder, and the Holocaust - all of which were officially legalized within a month of the regime's accession to power. To this end education, sport, manual work and camping took place in specially established Ustasha Youth Schools. In order to justify their radical policies of youth reeducation, the Ustasha Youth, besides emphasizing national character and the importance of cultural and national purity, also engaged in transnational activities and exchanges, especially with the Hlinkova mladez [Hlinka Youth] of the Slovak Republic. Both youth organizations were closely modelled after the youth organizations in Nazi Germany and Fascist Italy. This is a little studied part of the history of World War II and of Fascism, and will be essential reading for scholars of Central Europe and the Holocaust.

Based on newly accessible Turkish archival documents, Onur Isci's study details the deterioration of diplomatic relations between Turkey and the Soviet Union during World War II. Turkish-Russian relations have a long history of conflict. Under Ataturk relations improved – he was a master 'balancer' of the great powers. During the Second World War, however, relations between Turkey and the Soviet Union plunged to several degrees below zero, as Ottoman-era Russophobia began to take hold in Turkish elite circles. For the Russians, hostility was based on long-term apathy stemming from the enormous German investment in the Ottoman Empire; for the Turks, on the fear of Russian territorial ambitions. This book offers a new interpretation of how Russian foreign policy drove Turkey into a peculiar neutrality in the Second World War, and eventually into NATO. Onur Isci argues that this was a great reversal of Ataturk-era policies, and that it was the burden of history, not realpolitik, that caused the move to the west during the Second World War.

Based on newly accessible Turkish archival documents, Onur Isci's study details the deterioration of diplomatic relations between Turkey and the Soviet Union during World War II. Turkish-Russian relations have a long history of conflict. Under Ataturk relations improved – he was a master 'balancer' of the great powers. During the Second World War, however, relations between Turkey and the Soviet Union plunged to several degrees below zero, as Ottoman-era Russophobia began to take hold in Turkish elite circles. For the Russians, hostility was based on long-term apathy stemming from the enormous German investment in the Ottoman Empire; for the Turks, on the fear of Russian territorial ambitions. This book offers a new interpretation of how Russian foreign policy drove Turkey into a peculiar neutrality in the Second World War, and eventually into NATO. Onur Isci argues that this was a great reversal of Ataturk-era policies, and that it was the burden of history, not realpolitik, that caused the move to the west during the Second World War.

During World War II, Croatia became a fascist state under the control of the Ustasha Movement - allied with Nazi Germany and Fascist Italy. Here, Goran Miljan examines and analyzes for the first time the ideology, practices, and international connections of the Ustasha Youth organization. The Ustasha Youth was an all-embracing fascist youth organization, established in July 1941 by the `Independent State of Croatia' with the goal of reeducating young people in the model of an ideal `new' Croat. This youth organization attempted to set in motion an all-embracing, totalitarian national revolution which in reality consisted of specific interconnected, mutually dependent practices: prosecution, oppression, mass murder, and the Holocaust - all of which were officially legalized within a month of the regime's accession to power. To this end education, sport, manual work and camping took place in specially established Ustasha Youth Schools. In order to justify their radical policies of youth reeducation, the Ustasha Youth, besides emphasizing national character and the importance of cultural and national purity, also engaged in transnational activities and exchanges, especially with the Hlinkova mladez [Hlinka Youth] of the Slovak Republic. Both youth organizations were closely modelled after the youth organizations in Nazi Germany and Fascist Italy. This is a little studied part of the history of World War II and of Fascism, and will be essential reading for scholars of Central Europe and the Holocaust.

During World War II, Croatia became a fascist state under the control of the Ustasha Movement - allied with Nazi Germany and Fascist Italy. Here, Goran Miljan examines and analyzes for the first time the ideology, practices, and international connections of the Ustasha Youth organization. The Ustasha Youth was an all-embracing fascist youth organization, established in July 1941 by the `Independent State of Croatia' with the goal of reeducating young people in the model of an ideal `new' Croat. This youth organization attempted to set in motion an all-embracing, totalitarian national revolution which in reality consisted of specific interconnected, mutually dependent practices: prosecution, oppression, mass murder, and the Holocaust - all of which were officially legalized within a month of the regime's accession to power. To this end education, sport, manual work and camping took place in specially established Ustasha Youth Schools. In order to justify their radical policies of youth reeducation, the Ustasha Youth, besides emphasizing national character and the importance of cultural and national purity, also engaged in transnational activities and exchanges, especially with the Hlinkova mladez [Hlinka Youth] of the Slovak Republic. Both youth organizations were closely modelled after the youth organizations in Nazi Germany and Fascist Italy. This is a little studied part of the history of World War II and of Fascism, and will be essential reading for scholars of Central Europe and the Holocaust.

During World War II, jazz embodied everything that was appealing about a democratic society as envisioned by the Western Allied powers. Labelled `degenerate' by Hitler's cultural apparatus, jazz was adopted by the Allies to win the hearts and minds of the German public. It was also used by the Nazi Minister for Propaganda, Joseph Goebbels, to deliver a message of Nazi cultural and military superiority. When Goebbels co-opted young German and foreign musicians into `Charlie and his Orchestra' and broadcast their anti-Allied lyrics across the English Channel, jazz took centre stage in the propaganda war that accompanied World War II on the ground. The Jazz War is based on the largely unheard oral testimony of the personalities behind the German and British wartime radio broadcasts, and chronicles the evolving relationship between jazz music and the Axis and Allied war e orts.Studdert shows how jazz both helped and hindered the Allied cause as Nazi soldiers secretly tuned in to British radio shows while London party-goers danced the night away in demimonde `bottle parties', leading them to be branded a `menace' in Parliament. This book will appeal to students of the history of jazz, broadcasting, cultural studies, and the history of World War II.